tips & tricks for the rhythmically & harmonically-challenged
Posts tagged chords
Jazz Improvisation – Why is it So Hard and How to Overcome the Initial Difficulty?
Dec 4th
Thanks to Norah Jones, Jamie Cullum, Michael Buble and many other young jazz and jazz-influenced artists, interest in jazz music has been making a strong comeback. And with singer/piano players like Norah and Jamie, it’s not hard to see why jazz piano-playing has taken on with many piano enthusiasts as well.
However, because many of us started off learning the piano by playing classical music which deeply grounds us in music-reading and interpretation of the works of the masters, i.e. Bach, Chopin, Mozart, etc., the jazz style and its element of improvisation become, to many, extremely difficult to learn, or a skill which “you either have it, or you don’t.” It really doesn’t have to be that way.
Learning how to play jazz – no matter how brilliant a pianist you are – is going to be difficult in the beginning because you are learning a new skill. However, the best part of it is if you are a classically-trained pianist you would already have many years of technique and musical knowledge to support your foray into jazz. Think of it this way: if you can ride a bicycle and would now like to learn how to ride a scooter, chances are you won’t have any balancing issues. In the case of jazz piano-playing, all you have to do is to have the right approach and a systematic practice routine.
For your initial improv journey, I personally recommend this three-step approach:
- Scales & Chords – Add on to your repertoire of major and minor scales and triads and 7th chords to include the major modes (dorian, mixolydian, etc.) and minor modes (lydian augmented, lydian b7, altered, etc.); and A&B voicings (or rootless voicings), and keep your left hand comping simple – it’s not a crime to hold the chord down through the bar!
- Song Choice – Sounds like I’m channeling American Idol, but it’s excellent advice. Choose pieces that are not too challenging in terms of its harmonic changes (you don’t want to struggle with the new voicings that you have been working on), have a melodious tune (keeps you interested and provides an easy fallback during your solos) and is rhythmically easy (you don’t want to stumble over intricate swing syncopation).
- Listening Session – This cannot be overemphasized. The easiest way to learn a new musical style – how it feels, how it sounds, how it moves and grooves – is to listen to how it’s actually played by the experts in the field. All the more so with jazz music which is such an audible art – meaning the improvisational aspect of playing the piece is facilitated by a highly-skilled and trained ear. Listen to the gurus of jazz piano, i.e. Oscar Peterson, Bill Evans, Keith Jarrett, Marian McPartland, etc. Wouldn’t you know it; some of these jazzers were classically-trained – just like you!
Most of you are probably already listening to jazz music. Guess what? That means you are one-third of the way through the above approach! Work the other two into your practice routine and let your creativity fly!
I have been teaching piano for more than 20 years. Although classically-trained, I have always loved contemporary music. I grew up in a household filled with all types of music, from classical to jazz, Pavarotti to Sinatra, Goldberg to Grusin, pop, rock, etc. Currently residing in Singapore, I conduct private piano lessons in pop and jazz music to students of all ages, ranging from music enthusiasts, piano teachers to professional musicians. I also write a blog especially for pianists who find themselves rhythmically and harmonically challenged, and also on other interesting music and piano-related stuff.
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7 Ways to Become a Better Pop or Jazz Pianist
Nov 21st
“Practice!” That’s what piano teachers always tell their students, or “Practice makes perfect,” spout many. But practice what? Practice how? If practice makes perfect, then it is also true that imperfect practice makes imperfection! And we don’t want that. To become really good at our craft, i.e. piano-playing, it is important to know what and how to practice. Hence, to me, the saying should really be knowledgeable practice makes perfect.
Here are the seven important areas to cover and to diligently practice in order to become a better pop and/or jazz pianist.
- Scales - All contemporary piano players know that scales are the basic building blocks in music. The notes of a melody come from a scale, as are improvisational lines in jazz solos. Essential scales to master are: major (ionian mode), melodic and harmonic minor, modes (dorian, phrygian, lydian, mixolydian, aeolian [natural minor], locrian), major and minor pentatonic, major and minor blues, diminished and whole-tone.
- Chords – From scales, we build chords. It’s vital to memorize all the diatonic chords of the major and minor scales. Diatonic chords are chords that are built on every note of a scale and whose notes come from that very scale; there are seven altogether for each scale. Learn up its chord quality and function within the scale or key, regardless whether the chords are triads, sevenths, or 13th chords. Essential chord families to master are: major, minor and dominant.
- Rhythm - The best melody and harmony in the world will be quite boring without a hint of rhythm that goes with it. Rhythm gives life to music. Inherent with rhythm is feel, i.e. the interpretation of rhythmic units. Essential rhythmic feels to grasp are: straight and rolled 8ths, straight and rolled 16ths, swing and triplet. Additionally, it is also important to work on other rhythmic aspects such as syncopation and anticipation.
- Cycle of 5ths – Imagine the face of a clock and instead of the hourly numbers, replace these with the 12 notes in music, i.e. starting at the top at 12 with C, then moving clockwise down five steps to F, then Bb and continuing this until you end back at C. This is what you will get: C-F-Bb-Eb-Ab-Db(C#)-Gb(F#)-Cb(B)-E-A-D-G-C. Memorize this movement because a lot of chord progressions in songs move naturally in this way, either down in perfect 5ths or up in perfect 4ths. For example, the A section of “Fly Me to the Moon”: Ami7-Dmi7-G7-Cma7-Fma7-Bmi7(b5)- E7-Ami7. The roots of the chords move perfectly around the cycle, diatonic to the key of C major!
- Form – All the elements of music – melody, harmony and rhythm – will be pointless or meandering if not held together or structured in specific forms. Pop songs are known for their verse and chorus structures, or AB form. It is also common to find modern pop songs these days with the following form: intro-verse-chorus-verse-chorus-bridge-chorus-outro (ending). Blues music, of course, has its 12-bar structure, and its less common 16-bar form. And the 32-bar song form in jazz with its many variations, i.e., AABA, AABC, et cetera, are all important to note and remember.
- Styles - The beautiful thing about contemporary music is its many styles: pop, rock, R&B, reggae, gospel, bossa nova, swing, bebop, et cetera. Each and every style has its inherent melodic, harmonic and rhythmic characteristics. Break down every facet of a style and learn how to interpret it correctly. Master the styles and make your playing more colorful and multidimensional!
- Listen - Last but not least, because contemporary music comes in many genres, styles, shape and form, we need to develop a healthy listening habit. Every area from 1 to 6 above can be consolidated through a good listening session. As you listen to a piece of music, be it something from Coldplay, Sara Bareilles, Michael Buble, or Keith Jarrett, look out for and analyze all the elements – the melody/scale, chord/harmony, rhythm/feel, form and style. Music is an audible art. Hence, as a musician you need to build up your analytic listening skills!
Since there are 7 areas to work on altogether, these can be put to efficient practice, one for each day of the week! And remember only knowledgeable and perfect practice makes perfect. Have fun!
I have been teaching piano for more than 20 years. Although classically-trained, I have always loved contemporary music. I grew up in a household filled with all types of music, from classical to jazz, Pavarotti to Sinatra, Goldberg to Grusin, pop, rock, etc. Currently residing in Singapore, I conduct private piano lessons in pop and jazz music to students of all ages, ranging from music enthusiasts, piano teachers to professional musicians. I also write a blog especially for pianists who find themselves rhythmically and harmonically challenged, and also on other interesting music and piano-related stuff.
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7 Important Chords Every Musician Should Know
Nov 5th
And these are the Seven Diatonic Chords of a Key!
What are diatonic chords?
I am always struck by how many musicians are still completely confused or clueless about the importance of diatonic chords and how chords are related to each other within a key.
Simply put, diatonic chords are chords that belong and come from the same scale. Most classically-trained pianists know how to play their major and minor scales very well. But some may not understand the significance of the chords that are associated with the scale.
Let’s take a look at a C Major Scale:
If we stack another two notes a third apart (skip a key each on the keyboard) above each scale note, we immediately form the seven (7) diatonic triads of the C Major scale or key.
If we give a number to each chord of the scale (we usually use Roman numerals to represent chords, e.g. I, II, III, etc.; Arabic numerals to represent scale notes, e.g. 1, 2, 3, etc.), we will have the following chords from this C Major scale:
| Chord No. | Chord | Chord No. | Chord |
| I | C | V | F |
| II | Dmi | VI | Ami |
| III | Emi | VII | Bdim |
| IV | F |
Notice that the I, IV and V chords, i.e. C, F and G are all major quality chords. The chord symbol is just represented by a capital letter.
The II, III and VI chords, i.e. Dmi, Emi and Ami are minor quality chords. The chord symbol may be represented as a capital letter along with mi, min or – (minus sign.)
Lastly, the VII chord, i.e. Bdim is a diminished quality chord. The chord symbol may be represented as a capital letter along with dim or a degree sign.
Once you understand this concept in one key, it will apply to all keys. Hence, if you take the key of G major, you will find these seven diatonic triads:
Notice they all have the same chord quality sound and chord symbols according to the position in the major scale!
Why are these diatonic chords important?
Every melody note comes from a scale that forms the key of the song. Hence, it is only logical that the chords that go well with the melody will also come from the same scale!
Let’s take the old favorite “Twinkle, Twinkle, Little Star.”
The melody uses the first six notes of the C Major scale. Hence, we can safely say that this melody is in the Key of C.
Now, in order to put chords to (or harmonize) this melody, we simply start by looking at the seven C Major diatonic chords. If we do it systematically you will find the following:
| Melody note | Available chords | Melody note | Available chords |
| C | C, F, Ami | F | F, Dmi, Bdim |
| D | G, Dmi, Bdim | G | C, G, Emi |
| E | C, Emi, Ami | A | F, Dmi, Ami |
Notice each melody note has at least three chords that contain that note.
Notice also that both major and minor chord qualities are available for each note. Melody notes D and F can also be harmonized with a diminished quality chord.
Interestingly, you will observe that the C, F and G major chords, i.e. I, IV, V seem to feature prominently in the choices. That is because major chord qualities are considered strong chords or primary chords in harmonization, i.e. they get first priority, followed by the minor chords which are considered secondary chords. The major and minor chords are always considered the strong choices — major being the strongest of the two.
Hence, the best and simplest harmonization for this song is as follows:
Primary triads of I, IV and V also contain all the seven notes of a major scale. In other words, the seven notes of a major scale can easily be found in any of the three chords.
So it’s worthwhile mastering this fundamental harmonic concept of diatonic triads. Learn and play them in all keys!
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